This fall, Johns Hopkins University is set to launch a new bachelor’s degree program in hip-hop performance, but the decision to prioritize this over more traditional academic offerings is drawing criticism. The program, to be hosted by the Peabody Institute — a 167-year-old conservatory historically known for classical music education — seems like an odd direction for an institution with such a long history of producing musicians in serious, classical fields. Although Peabody has expanded into jazz and dance over the years, the shift to hip-hop is seen by many as a controversial departure.
Even more perplexing is the involvement of Grammy-winning rapper Lupe Fiasco, who recently announced via Instagram that he’ll join the program as a visiting professor. While Fiasco may be celebrated in some circles for his music, his inclusion raises questions about the academic rigor of the new degree. Peabody, renowned for its esteemed faculty and long-standing tradition in classical music, is now pivoting toward rap and hip-hop — two genres often seen as less academically demanding.
The idea of a four-year program in hip-hop, designed to culminate in a bachelor’s degree in music, seems out of place in an institution that has built its reputation on serious, classical training. While universities are increasingly adding hip-hop courses, a full-fledged degree program in rap, beatboxing, and production is a rare and, some would argue, misguided move. The program may appeal to certain students, but it risks diluting the prestige of the institution, transforming a revered conservatory into a factory for what some critics view as lowbrow entertainment.
Potential applicants for the fall 2025 semester are now vying for a place in this program, but it’s unclear what value such a degree will hold in the job market. The program’s description promises exposure to the cultural history of hip-hop and career-building skills, but is this enough to justify a degree from a top-tier institution like Johns Hopkins? Critics argue that there is no compelling evidence that a hip-hop degree offers the same professional opportunities or academic prestige as those traditionally offered by Peabody.
The decision to put this program under the stewardship of Wendel Patrick, a hip-hop producer and associate professor, is also questionable. While Patrick’s background in music is notable, many wonder whether his expertise in hip-hop production can truly match the kind of rigorous, world-class music education that Peabody has long been known for.
As more students apply for this controversial program, it remains to be seen whether it will ultimately damage the reputation of Johns Hopkins and Peabody. The institution’s decision to promote hip-hop as an academic discipline raises doubts about its commitment to the rigorous training that once made it one of the most prestigious conservatories in the world. The program may gain a following, but it could also be seen as a desperate attempt to remain relevant in an era increasingly dominated by pop culture — and that is a legacy that may not age well.
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